The Russian-Ukrainian duo behind the monicker Dan Deagh Wealcan has been featured several times on Aristocrazia Webzine, for example a few months ago with "Fragmented Consciousness". Mikhail (Moscow, all music) and Eugene (Kiev, vocals and lyrics) have been working at a very fast pace over the last few years and, after the release of "Fragmented Life" in November 2016, they are already about to publish their next work.

As we approach "Fragmented Life", we can say that it feels like some sort of a mirror image of the previous work "Fragmented Consciousness". Apart from the obvious similarity in the title, we notice the contrast in the color palette chosen for the two cover artworks, and the fact that all song titles on the latest album only have single words and do not feature odd symbols and characters as it was the case on the other record.

If you are at least a little familiar with Dan Deagh Wealcan, perhaps you already have an idea of what to expect on here, pretty much anything. In fact, one of Mikhail and Eugene's trademarks is the utter nonchalance with which the two move from one genre to another (often between metal and electronic music), all the while maintaining a certain stylistic consistency. For example, they have kept alive their interest in even the visual aspects of words (and communication in general), as we can see in the "Tid" videoclip. A further instance of this can also be found in the song chosen as the first online appearance of this album, "Contradictions", which shows a renewed interest for choruses as well.

Compared to the previous album, there is more attention given to the electronic aspects of music (as in the meditative "Panphobia" or the unusual "Untitled"), more often than not taking center stage in spite of the more metal guitar riffing heard for example in "Poem". Basically, "Fragmented Life" might come off as a slightly more canonical record in formal terms, at least when compared to the band's standards and surely if compared to its "brother".

After this diptych released in 2016, there clearly is some interest surrounding their next work (which would be the fifth one in just a few years), but at this point I would also be quite curious to see what the eventual live rendition of this project (clearly using the expression "No Live Shows" in descriptions) would be, also considering of course the obvious issues related to logistics and location. If you are interested in their work, and understand Russian, I would also recommend a visit to their VK page.